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Kevin Gates

Islah

Includes Poster And Bonus CD

Bread Winners Association artist Kevin Gates has announced the release of his long awaited debut album ISLAH. . Gates chose to name his debut album ISLAH after his daughter who shares the same name. Islah is an Arabic word usually translated as reform, in the sense of to improve, to better, or to put something into a better position.

Suicide Squad: The Album

SUICIDE SQUAD: THE ALBUM is as wildly diverse as the Suicide Squad itself, showcasing new and previously unreleased material from some of the most commendable artists in contemporary music. Other highlights include tracks from such unprecedented assemblages as Action Bronson & Dan Auerbach (of The Black Keys) [Feat. Mark Ronson], and Skrillex & Rick Ross. What's more, SUICIDE SQUAD: THE ALBUM also features new songs from Kevin Gates, Kehlani, Skylar Grey, Grimes and Panic! At The Disco (who offer up an astounding rendition of Queen's classic Bohemian Rhapsody). In addition to these new tracks, the album features musical classics from War and Creedence Clearwater Revival, as well as Eminem's timeless anthem Without Me and a modern rendition of Leslie Gore's classic You Don't Own Me by Grace and contemporary superstar G-Eazy. The album also features the first full-length version of the ConfidentialMX (Feat. Becky Hanson) cover of I Started A Joke, which was featured in the Suicide Squad Comic-Con trailer, named one of the most-watched trailers of 2015 with over 136 million views since its release.

SUICIDE SQUAD: THE ALBUM was produced by Atlantic Records President of Film & TV and GRAMMY® Award-winning soundtrack producer Kevin Weaver (Furious 7, Boardwalk Empire, The Fault In Our Stars, CREED, Girls Volumes 1 & 2, True Blood Volumes 1 & 2) and Creative Officer of Warner Music Group and CEO of both Artist Publishing and Partner Groups, Mike Caren, who recently co-A&Red the Furious 7 soundtrack with Weaver, and has been responsible for signing more than twenty Gold and Platinum-selling artists including Trey Songz, T.I., Flo Rida and Wiz Khalifa.

Nina At The Village Gate (Pure Pleasure)

In the intimate ambiance of The Village Gate, Nina Simone made pure magic with her voice and on the keyboard, one Manhattan evening back in 1961. She sang and played with a trio, which featured her favorite guitarist, Al Shackman. We are so fortunate that the moment was captured and recorded.

I can't really categorize Nina's sound or her music and call her 'just' a fabulous jazz vocalist. Although, she plays extraordinary jazz with her voice, as in Just In Time. She has been often called a musical anomaly, because there is no one category for her work. She was trained as a classical pianist, and in cuts like Bye Bye Blackbird, the complexity of her piano comes through loud and clear. Her folk songs, like the biting House Of The Rising Sun, and Zungo, an African work song, place her at the top of a long list of folk singers. Ms. Simone's gospel songs, i.e., Children Go Where I Send You, can raise the roof and bring down the house, as she did at the Gate in '61. She is a protest singer, Brown Baby, and an actress, capable of an extraordinary range of emotions.

Nina has the rare ability to dig into her material and bring unexpected meaning to familiar lyrics. She is eclectic with her taste and her repertoire. But whatever touches Nina, and whatever Nina touches, will reach you and evoke an emotional response. Her music is as fresh today, as it was 42 years ago, singing for that Manhattan audience. They could not have loved her more then, than we do now.

Musicians:

Nina Simone (piano, vocal)

Al Schackman (guitar)

Chris White (bass)

Bob Hamilton (drums)

Recording: 1961 in New York City

Production: Cal Lampley

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

1. Just In Time2. He Was Too Good to Me3. House of the Rising Sun4. Bye Bye Blackbird5. Brown Baby6. Zungo7. If He Changed My Name8. Children Go Where I Send You

The Fate Of The Furious: The Album

Artist Partner Group, Atlantic Records, and Universal Pictures have announced the release of "THE FATE OF THE FURIOUS: THE ALBUM," the musical companion to the much-anticipated Universal Pictures film of the same name. The album arrives in stores and at all online retailers on Friday, April 14, as the ultimate companion to Universal's THE FATE OF THE FURIOUS, which opens in theaters everywhere the same day.

The highly-anticipated album includes an impressive total of 14 exclusive new tracks curated specifically for THE FATE OF THE FURIOUS, featuring unparalleled collaborations by Young Thug, 2 Chainz, Wiz Khalifa & PnB Rock; Jeremih, Ty Dolla $ign & Sage The Gemini; and PnB Rock, Kodak Black & A Boogie Wit Da Hoodie. Furthermore, Migos, Post Malone, 21 Savage, Lil Yachty, Kevin Gates and more round out the star-studded tracklist, contributing their own exclusive new songs for the dynamic album.

His Hand In Mine (Speakers Corner)

Almost everyone loves gospel songs. After all - it is inspirational music about good news and hope and warms the heart without demanding religious belief. But what in God's name makes these songs so enjoyable? Why are they music to one's ears? Is it because of the simple yet unique melodies, the soft or rocking grooves, or the prayer wheel-like verses that are sung alternately by a soloist and chorus? Elvis fans might well be able to answer this question just by taking a quick look at the cover, while other more undiscerning lovers of black folk spirituality would say that this is a well-produced, professional album that cannot be equalled.

Elvis lets his young, flexible voice swing sonorously here, lightly and airily there, all the while supported by a top-notch vocal backing group. The rich vocal harmonies are sung with true passion, and it is certainly no coincidence that one is reminded of the sound of the Golden Gate Quartet. In one moment the voices soar to celestial heights, in another they plunge down to a deep rumbling bass, not to forget the soft and springy rhythm section. For John Bush (allmusic.com), »this LP isn't just one of Elvis' best LPs, it's one of the best (and best-recorded) gospel sessions of all time.«

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

1. His Hand In Mine2. I'm Gonna Walk Dem Golden Stairs3. In My Father's House4. Milky White Way5. Known Only to Him6. I Believe in the Man in the Sky7. Joshua Fit the Battle Traditional8. He Knows Just What I Need9. Swing Down Sweet Chariot10. Mansion Over the Hilltop11. If We Never Meet Again12. Working on the Building

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